JinRoz For all the hype it got I was expecting a lot more!

Beanbioca As Good As It Gets

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Chris Knipp This collaboration between Walter Salles (Central Station, The Motorcycle Diaries) and previous co-director Daniela Thomas provides a look at the struggles of urban Brazilian youth without melodrama or ultra-violence. (Salles saw Fernando Meirelles and Kátia Lund's City of God as an impressive film but one that misled the public into thinking every Brazilian kid packs an AK-47.) The texture of the film is gritty, but attractive. Like the boys in Visconti's Rocco and His Brothers, the focus is on the sons in a family who have a natural glamor, but are presented in a neorealist style. Linha de passe is a term for passing a soccer ball from one player to another without its touching the ground. An English language title hasn't been found yet; the French used simply Une famille brésilienne/A Brazilian Family. The film is engaging, if a bit chaotic. The May-through-September time-lined structure helps add organization, but the effort to move constantly back and forth among five different characters and scenes becomes wearying toward the end, though the lack of any resolution certainly is an honest reflection of the protagonists' near-hopeless lives.Living in the slums of São Paulo, the country's most populous city, Cleuza (Sandra Corveloni, who won the Cannes Best Actress award in 2008 for this performance) is a hard, spirited woman who smokes, works as a housekeeper, and keeps having sons by different men. Cleuza is an obsessive soccer supporter with four boys, none of whom knows who his father is. She's pregnant again, and when her mistress notices, she edges her out by hiring another woman to replace her. Cleuza's youngest, Reginaldo (Kaique de Jesus Santos), who is black, is intent on resolving the mystery in his own case. He believes his dad is a bus driver and so spends all his spare time riding buses, befriending drivers, and learning how to drive a bus. His final exploit of stealing a bus and driving it off on his own, designed to draw attention to himself and thus lead him to his father, is based on a true story.Reginaldo is feisty, handsome, and precocious and his exploit is amazing, but the film balances its attention among each of the sons. Dario (Vinicius de Oliveira, who when very young starred in Salles' Central Station) is a talented soccer player who wants to make it on a commercial team. But having just reached 18 he is at the limit for hiring of newbies; when he finally finds a coach still interested in his impressive ball handling, shooting and (with prodding) teamwork, he finds out he has to come up with a big "tip" to get the team official to ease him in. Dinho (José Geraldo Rodrigues) works at a gas station, but his life revolves around evangelical Christianity. He's had some badness in his past, but is determinedly righteous now. Dênis (João Baldasserini), the oldest, has a small boy he very seldom sees and cannot provide support for as a motorcycle messenger. He is still paying for the bike. This need for money leads him to crime.The settings are real and gritty and the main actors, save Vincius, had no previous experience. All this contributes to the vigor, spirit, and naturalism of a narrative that grounds its drama in sociology. It begins with the statistical fact that a large percentage of São Pauolo's children are fatherless. There is little sense of social organization or services here.Dênis' momentary turn to theft and carjacking leads the film as far as it ever goes into Hollywood actioner territory. Meanwhile Dinho is having his faith tested and seriously losing his cool, little Reginaldo is moving up to joy-riding a giant bus, and Dario, who earlier went on a dangerous drug and alcohol spree in frustration, is seemingly getting that big break on the soccer field, but his lack of money to bribe the manager may doom his chances. Everyone is moving boldly forward, hopeful in the face of despair. One ends the film feeling wrung out and uncertain. Salles has become seemingly more realistic but also more pessimistic by now than he was when he made the emotionally moving but somewhat saccharine 'Central Station,' and he does not wreathe his ghetto youths in mist as he does the Che Guevara of 'The Motorcycle Diaries.' This is a valiant effort, with many engaging elements, but the final effect is somewhat lukewarm.The editing by Gustavo Giani and Lívia Serpa is unfailingly clear; it is not their fault if the focus on five plot lines at the end of the film becomes a little overwhelming, and ultimately numbing. If this is the influence of Iñáritu, that is always a dangerous one.Premiered in May 2008 at Cannes, 'Linha de Passe' is still unreeling in various countries. Seen at the San Francisco International Film Festival May 29, 2010. In the dual-theater projection, an unfortunate staple at the SFIFF, the print did not look very good; presumably a fault of the projection and not of highly experienced d.p. Mauro Pinheiro Jr.

Claudio Carvalho In the periphery of São Paulo, the pregnant single mother Cleuza (Sandra Corveloni) works as maid in the apartment of a middle-class family. Each of her sons has a different unknown father: the oldest, Dênis (João Baldasserini), has a baby son that lives with his mother and he works as motorcycle courier; Dinho (José Geraldo Rodrigues) is Christian converted and works as attendant in a gas station; Dario (Vinícius de Oliveira) is an aspirant soccer player that is getting older without the expected chance in a team; and the youngest, Reginaldo (Kaique Jesus Santos), is obsessed to find his black father that works as a bus driver, and spends most of his spare time traveling by bus. Along the months, each brother experiences new deceptions and expectations while the family fights to survive."Linha de Passe" is an overrated tale about the invisible people that live in the periphery of big cities. The characters are very realistic, but the screenplay and the edition have many cuts, and the development of the characters is very confused in the beginning. The movie also uses unnecessary footages of the Corinthians soccer team that has the second largest legion of fans in Brazil after Flamengo, maybe with the intention of increasing the box office in São Paulo. The acting is top-notch and Vinícius de Oliveira is indeed a good soccer player. The inconclusive open end is deceptive – the writers could have written a non-corny conclusion, for the good or for the bad of the characters. My vote is six.Title (Brazil): "Linha de Passe"

eduandre I haven't many comments to add, but something I really noticed in this good movie is that Walter Salles got a lot of inspiration, specially camera takes and editing, by Alejandro G. Iñarritu, not to mention the instrumental background music. The tone of Salles movies remains focused in the hope and good heart of the poorest despite deep unfairness of Brazillian society. Unfortunately, we do not watch good actor Vinicius Oliveira acting more often. The "moto boys" were admirably portrayed as well as the church followers. By the way, Corinthians, the football team supported by The Mother indeed went to 2nd. division in real life, as she worried at the beginning of the movie.

Welington Santos More than a movie, Linha de Passe is a study about the moral and ethical dilemmas that young people from Brazilian suburbs of big cities face on a daily life. It is a film much more rich and complex than it seems. By the apparent simplicity and fragmented structure, should not have the same impact of the Brazilian Central and the Motorcycle Diaries, Walter Salles recent productions.The Cannes Film Festival confirmed the film to grant him the Golden Palm for best actress to Sandra Corvelloni, single mother of four children, maid and resident of Sao Paulo suburbs. The family, by leaps and bounds, struggling to survive in the metropolis. The oldest is Motorcycle courier, Dinho works in a gas station, Dario wants to be a soccer player and youngest Reginaldo, in brilliant interpretation, is obsessed by her father unknown.The script, written by Daniela Thomas, Bráulio Mantovani and George Moura, gives an account of five characters who have to kill a lion a day and are faced with ethical dilemmas at every turn, choosing between them to deliver anything goes or to remain in line.